Critical Correspondence

MRPJ#19/all about release part 2: Extras

RELEASE: is a word that describes a particular use of our tension system. It is a part of the whole bio-kinetic physical system called tension. It is the action of changing tension levels from a high level to a lower level, its intensity can vary from a sudden explosive letting go of whatever state of tension you are in; to a gentle release at any speed. You can choose the dynamics of a release by using the elements of speed and quality. We can release any part of our body, but the release and contraction need to be balanced. In order to inhale we must use tension to draw in the air; to exhale we release our breath. – From “Bio-kinetic Tension” by Elaine Summers

all about release part 2 is the second in a series that tries to engage with what we talk about when we talk about release. Editors DD Dorvillier, Trajal Harrell and Sarah Michelson present a wide array of passionate and surprising perspectives and diverse relationships to the concept of release. In their words, “We never set out to edit a journal that was about defining ‘release technique.’ The journal was about the premise of ‘release technique’, how that premise is mutated, and the contradicting or consolidated ideas that surround it.” We’ve selected Daniel Lepkoff’s What Is Release Technique? to provide a perspective from someone who has had a long relationship with Movement Research and its origins as well as with the origins of many release-based techniques and Contact Improvisation.

At the school people have the opportunity to go in many directions… I realized the release work was coming out of a certain history. The people who were developing it had a previous training in ballet or modern… a lot of the speak at the school was about the breaking of lines which assumes that the students knew how to make lines, when in fact that was not always the case. I directed my studies toward release and Cunningham because I wanted to practice making lines as well as breaking them… It’s very important to realize the cycle of modern dance. What was once radical becomes the established… When I watch a lot of release work I find it very conservative and it looks like they think they’re being very free. This freedom is a very middle class privileged freedom which has a lot to do with contentment. And I just don’t relate to it. We have to look at the history of dance [and] who we’re catering to. Where do we place dance in society, in culture?

I see more freedom in social dancing, club dancing, even stripping than I see in one of those formula post-modern release things. It’s so easy to do one of these pre-fab post-modern release things. Get some brown wide leg pants. I’ll stand there. I’ll do a few gestural movements. I’ll do some signature release movements working with breath. Maybe some capoiera. Something vaguely homoerotic, but not too homo or erotic… Every movement has been done already. The obsession with originality is stunting creative freedom… Choreographers or dance artists have an obsession with ownership. Like what do they want? Copyright of the human body? And where’s the freedom in that? – From “Speaking His Mind” by George Stamos (interviewed by Trajal Harrell)